I read in an article, "People think a Chinese Crested is an ugly
dog, but at the end of the day he is really a good match to my
lifestyle." I guess that really does make sense to me. That's
because at the end of the day he turns off the lights and then it
is too dark to see how incredibly much his dog is UG-LEEEEEY.
[-mrl]

It is interesting to see the course on "Can Zombies Do
Mathematics?" I just recently read an article in Stanford Magazine
on what zombies are really suffering from. It is Ataxic
Neurodegenerative Satiety Deficiency Syndrome:
http://tinyurl.com/void-ansds.

It is fascinating that we have these para-realities being invented.
We now think we know a lot about what makes zombies tick without
ever having examined a zombie.

We seem to create parallel realities for ourselves. Worlds we take
seriously and by mutual consent ignore the elephant in the room
that none of this has a real basis in reality. We also have
Klingon Language studies. STAR TREK also spawned military types
arguing out issue like are phaser blasts more disruptive than
photon torpedoes.

I guess this whole thing goes back at least as far of everybody by
mutual consent accepting that there is/was a real Sherlock Holmes.
[-mrl]

My father used to complain all the time about what I would call
"language creep." In language when an error was made frequently
enough, it becomes no longer an error. It becomes the general
usage. I never thought it was a big deal. As long as people
understand each other language is doing its duty. But I find, as I
get older, I also find myself irritated when people hear a word
used wrongly so frequently that other people come to accept it. It
becomes a personal bugaboo.

The real source of some of the problem is that people hear the word
used correctly, do not know what the word means and try to infer
the meaning from the context. And "infer" is one of the words.
"Infer" is not the same thing as "imply". If I infer something I
draw a conclusion for myself. I may imply something and from that
someone else may infer my meaning. But the question "Are you
inferring that the murder weapon was dental floss?" means "are you
concluding that the murderer used dental floss?"

Occasionally the source of the misunderstanding can be traced. In
Dashiell Hammett's THE MALTESE FALCON Sam Spade calls Wilmer Cook a
"gunsel". People assumed that a gunsel was a gun-bearing hoodlum.
It was really Hammett trying to get a sexual reference past his
editor. Gunsel is a Yiddish word for catamite. I won't explain
that further because we have to get this issue past people's nanny
filters that might decide any more explicit explanation would need
to be censored. But ever since there have been people who assumed
that a gunsel was a hood who was armed.

I caught Evelyn making this mistake. The ultimate book in a series
is the last one written. If the author writes one more book that
really, really is the last, that previous last is the
"penultimate". That is somehow the most ultimate you can have,
right? Wrong. Penultimate does not mean last at all. It means
second to last. The penultimate month of the year is November.
But it is hard to tell from context that penultimate means
supremely ultimate (if there is such a thing). Few people would
guess from context that it means second to last. It is actually a
synonym "not last." By the way, if something is really extreme
some people call it "ultimate". The greatest nachos anyone could
make are called "Ultimate Nachos". Actually, if you order
"Ultimate Nachos" and then next week you see someone else eating
Ultimate Nachos, technically the restaurant is guilty of breach of
contract. Ultimate Nachos are not the best ever made, they are the
last ever made, or so the name claims.

A word that NPR seems not to understand is "epicenter". It is
coming to mean absolutely the very center. They said, "[Romney]
would have proved that he can win in a conservative state and he
has yet to win in the Deep South, which is the epicenter of the GOP
base." Just like "penultimate" taken literally means "not
ultimate" the word "epicenter" means "not at the center". The word
seems to have come from discussion of earthquakes that happen deep
in the earth. Shaking and damage radiate out from the center. The
point closest to the center that can actually be visited is the
"epicenter". It is the point directly above the center that is the
epicenter. I guess geometrically it is possible to have a closer
point accessible. If the epicenter was next to a cave, assuming
that is geologically possible, you could get closer to the center
than the epicenter of the earthquake. But the epicenter is really
what you would want to know if you were studying the strength of
the quake.

The thing is that this misuse of words with specific meanings is
literally demolishing the language. Well, no it isn't, even if it
is modifying the language. "Literally" means in a strict sense, to
the letter, without exaggeration, inaccuracy, or figure of speech.
People have come to believe that the word "literally" just adds
emphasis. I heard a feminist claim that for a woman to rise to the
top in politics, like Margaret Thatcher did, she literally has to
become a man. I think that would have come as a real shock to
Denis Thatcher.

I am inferring that sloppy language users are literally the
epicenter of a penultimate threat to our language, gunsel. (Okay,
I got four out of five. Forget gunsel.) [-mrl]

It's that season again, when buds burst forth on the tree, and
Friends of the Library (and other) book sales are seen through the
land. This year's crop of book sales have come and gone, but with
some major changes. Added to my list is the Matawan Friends of the
Library (FOTL) and the Court Jester, but dropped is JR Trading
(which has gone out of business) and the visit to Half-Price Books
in conjunction with either the JR Trading sale or the Bryn Mawr
sale.

This year started earlier than usual with the Friends of the
Matawan/Aberdeen Public Library sale. Well, that is unless you
count the closing sale of Half-Price Books a couple of weeks
earlier, when I had to buy enough from their deleted store stock to
use up my store credit.

I had already talked about the closing. Most of the better books
were gone from the store, to be the starting inventory for its on-
line incarnation. We did find a few science and history/travel
books. The latter is really a single category, including such
items as Leon C. Metz's ROADSIDE HISTORY OF TEXAS, part of the
series of "Roadside History" and "Roadside Geology" books. We
already had the "Roadside History" books for Arizona and New
Mexico, and the "Roadside Geology" for Utah. In a sense they seem
to be related to the WPA guides for the various states, written
back in the 1930s.

I also got Tim Severin's IN SEARCH OF MOBY DICK and Nathaniel
Philbrick's IN THE HEART OF THE SEA. The former is about Severin's
travels around the world learning about whales, whaling, sea
creatures, etc. The latter is about an 1820 whaling ship disaster
that probably inspired Herman Melville's MOBY DICK. (I guess that
Philbrick and Melville makes a companion pair to Michener's MEXICO
and MY LOST MEXICO.) But you can see why Metz, Severin, and
Philbrick all straddle the line between history and travel. For
that matter, Severin is also science. All this makes shelving the
books a bit tricky, and frankly, the rule about cross-genre" books
often seems to be that they go in whichever category has space.
David A. Traill's SCHLIEMANN OF TROY goes in archaeology for sure--
that box is half-empty. (I would combine it with history, but the
history shelves are too full already.)

The total here was 7 books for $39 store credit.

But back to the Matawan/Aberdeen Public Library sale. As happens
every time they have a sale (they have several small sales a year,
lasting only three or four hours on a single Saturday rather than
one big one), we start by picking individual books, but inevitably
decide to go with the $5 a bag option. At 50 cents a paperback and
$1 a hardback, it does not take many to make the bag a good deal,
especially considering that we got 25 books in the bag (two
hardcovers, the rest paperbacks).

So what did we get? The most interesting (pair) was James A.
Michener's MEXICO and MY LOST MEXICO, the latter being his journals
about the writing of the former. We also found THE VENGEANCE OF
THE WITCH-FINDER by John Bellairs and illustrated by Edward Gorey.
Nothing else was a real stand-out: nine miscellaneous science
fiction books, an anthology of humorous horror stories, a couple of
cartoon books, four historical fiction novels, and some odds and
ends. We also got a book on CD, THE TIME SELLER by Fernando Trias
de Bes, which sounded suitably off-beat.

And we heard about the problems the library is having. Their
current building is bursting at the seams. As just one example,
they cannot accept books for the book sale except for the month
immediately preceding it because they have no place to store them.
(They do have an on-going sale from a dozen shelves near the
Circulation Desk, so they must have some storage space.)

At any rate, there has been much discussion about building a new
library, but not much action. First, it seems to be a library
jointly funded by Aberdeen and Matawan, so there are two local
governments involved. One of them--Aberdeen--wants the new library
to be in the proposed "Transit Village" (a complex to be build near
the train station. The other--Matawan--would presumably prefer it
to be somewhere near where it is now, in downtown Matawan. I tend
to agree with the latter. Matawan's downtown is currently in a
downturn, but removing the library would be another nail in the
coffin. The closing of the dollar store downtown and its
replacement by "Discount Depot" is another. The dollar store at
least had a decent dollar-store-type selection; Discount Depot has
no selection to speak of and prices that are often considerably
more than the items are worth. But even so, the downtown has the
library, the Post Office, a couple of banks, a Chinese and two
Mexican restaurants, a laundromat, and a few other stores. What is
needed is a grocery store. There was one, but because it was
family-owned it was not unionized, and was picketed by the unions
whose members worked at nearby supermarkets, and my suspicion is
that this is what did it in.

The "Transit Village", on the other hand, is not even built yet,
and is nowhere near anything else (in terms of walking distance).
True, people could get to it easily by train, but the people who
want to go to the Matawan-Aberdeen Public Library are people who
live in Matawan and Aberdeen, not those who live in other towns
along the train line.

Total was 25 books for $5 (which included a few books for other
people).

Next was the Court Jester. Now, people who live in the area are
probably asking themselves, "Isn't that a restaurant and bar?"
Yes, it is, but their decor is walls of bookshelves and books.
These are the sort of books that are left over at the end of book
sales, or seen in thrift shops week after week without ever
selling. But as we were leaving, we started looking at the books,
and saw a couple we wanted: a beat-up hardcover of THE WILBY
CONSPIRACY by Peter Driscoll and an ex-library copy of THE WORLD OF
SPACE by Robert Silverberg. We asked the greeter if we could buy a
couple of the books. She called the manager and he said as long as
we brought in books to fill the space, that was fine. This works
out well, because I have a couple of books of that sort (e.g.,
Hubert Herring's HISTORY OF LATIN AMERICA, a textbook with
highlighting inside, but a perfect fit for the decor on the
outside).

The big sale of the year (for us, anyway) is the Bryn Mawr sale in
Princeton. This year they had about 95,000 books (up from 80,000
last year). They are so popular that the preview day not only has
a charge to attend, but there is a lottery to be eligible to pay
the charge.

I talked to a couple of the volunteers working there. One was
explaining to someone what a scanner was, and said that the
organization running the sale is now using them so that they can
price the books more effectively. The default pricing was a dollar
for mass-market paperbacks and two dollars for trade paperbacks and
hardbacks. But the trade paperback about British crime cinema that
looked interesting was marked $10.

Another volunteer was complaining about the rude dealers who show
up on previous day. He said that all the fiction, literary
classics, and biography were nicely alphabetized and organized when
they opened, but after the dealers had been through, books were
scattered around in piles all over the room. Even worse, books
were just dumped back into other categories where you could not
even tell they were out of place without looking at every book.
This is less of a problem at the other sales we go to, because when
there are only a few thousand books, there are fewer dealers and
also less opportunity to make a mess.

One book I was looking for but could not find was Edward Gibbon's
unabridged DECLINE AND FALL OF THE ROMAN EMPIRE. Oh, well, I
figured I was just being optimistic in looking for. But when I got
to the check-out, I *swear* the person right in front of me was
buying ... you guessed it, a three-volume unabridged DECLINE AND FALL
OF THE ROMAN EMPIRE!

In spite of the higher prices for better books and the Gibbon
"debacle", I did find some books. Our discussion group is doing
Russell Banks's THE SWEET HEREAFTER in June, and I found a copy of
that. (While I could always check it out from the library, it is
more convenient to have a copy, particularly if Mark and I are
trying to read it at the same time.)

I picked up a couple of books about television: Keith Devlin's THE
NUMBERS BEHIND NUMB3RS and Richard Greene's THE SOPRANOS AND
PHILOSOPHY. The latter is part of another ever-growing cross-genre
category, philosophy and entertainment media. (I just recently
read William G. Smith's SOCRATES AND SUBTITLES.) The former is the
only entry I know of in the not-growing cross-genre category of
mathematics and entertainment media. There are, however, various
books about science in entertainment media, e.g. Robert Jenkins's
THE BIOLOGY IN STAR TREK, and I suppose John Allen Paulos's A
MATHEMATICIAN READS THE NEWSPAPER could be considered mathematics
and media, if you use the term "media" in its broader sense.

We found a copy of a Frederic Brown mystery, THE FABULOUS
CLIPJOINT. Brown is known (to us, anyway) mostly for his science
fiction, but was also a well-known mystery writer.

We bought a couple of ... well, they're not graphic novels because
they are not novels, but "cartoon books" does not sound right
either. There is Larry Gonick's A CARTOON GUIDE TO PHYSICS and
Stan Mack's THE STORY OF THE JEWS, both done as black-and-white
comic books. And to all these Michio Kaku's PHYSICS OF THE
IMPOSSIBLE and two books of science essays from 2005 and you can
see that we spent a lot of time in the science section!

(Mark initially said that there was no math section, but that was
because it was a fair distance away from the science section,
rather than right next to it as you might expect.)

I got something called PALM-OF-THE-HAND STORIES by Yasunari
Kawabata. These seem to be very short stories (four or five pages
each), but I will have a better idea when I actually read it.

Total was 12 books for $27, plus a Teaching Company course "Why
Evil Exists" (36 lessons on CD) for $18. They had a couple of
other courses on VHS, but they were more focused on Christianity
specifically.

The Bryn Mawr sale was the day before we flew to Arizona for a
visit. The East Brunswick Friends of the Library sale started the
day we got back, but I did not get there until the next day. It is
not clear that it was worth the trip. There were only half a dozen
long tables, meaning that it was really only a little bit larger
than the Matawan-Aberdeen sale. (Admittedly, they did have books
underneath the tables that got moved up as space became available.)
One entire table was media: DVDs, audiobooks, and CDs. They no
longer sell VHS tapes, and almost all of the audiobooks were CDs.
Pricing was similar to Bryn Mawr.

So what did I buy? A Modern Scholar course entitled "Six Months
That Changed the World: The Paris Peace Conference of 1919".
Modern Scholar seems to be similar to The Teaching Company (which
is now called "The Great Courses" by the company, but everyone I
know still uses "The Teaching Company"). It was priced like an
audiobook at $5, which meant it was cheaper than it would have been
at Bryn Mawr; there they were $2 per disc, so this would have been
$14.

There was also a Teaching Company course, "The Other 1492". The
problem was that it was on cassette and one of the cassettes was
missing. I took it up to the check-out to point out that a
cassette was missing and they might want to tag it thus, but the
woman said if I wanted it to just take it for free. Given that the
booklet with the lesson outlines was there, we can still get the
gist.

And that was it. I could not find a book I was interested in.
Mark said we bought more books at the Dollar Store later that day
(one book--MR. GATLING'S TERRIBLE MARVEL) than we did at the East
Brunswick FotL sale. I pointed out we got more books at the *Court
Jester* than we did at the East Brunswick FotL sale.

It is true that I did not go until the third day, but the tables
did not have a lot of empty space, as though they had been picked
over. The science and math section, for example, was full--but
over 90% of it was SAT prep books and other thick study guides.
There were maybe a dozen or so books about science that were
written to be read like a book. The travel books were almost all
outdated ex-library annual travel guides. And so on.

I talked to one of the volunteers a bit about why the sale was so
small. She attributed it to two factors:

- The library's budget is much smaller this year than in the past.
Since they are buying less, they have to get rid of less to make
room. And one of the things they are buying less of are multiple
copies of popular fiction. A lot of the stock in previous years
came from this: they might buy ten copies of a very popular book,
but after a year or so, demand would die down and they would sell
nine of them.

- People are not buying as many books. Some of this is that people
are spending less money on books; some is that they are buying e-
books for their Kindles, or Nooks, or whatever. In either case,
they have fewer books to donate to the sale. And it is cutting
into the sale at the other end as well: people who are economizing
are not buying as many books at the sale; people who have e-readers
are buying e-books instead of books at the sale. This is
particularly evident in the classics area, where the works are
available for free on-line. [-ecl]

CAPSULE: Drew Goddard directs a film he wrote with Joss Whedon and
takes the viewer over a lot of very strange territory even for
horror films. While the film is funny and frequently at the same
time scary, it also looks at what makes horror films work before it
dumps the viewer on the doorstep to one of the great master horror
writers (who shall remain nameless). The American horror film has
been impoverished for ideas for decades now, but this is a
fabulously creative horror film which takes a lot of pieces that
should not fit together and forces them into a whole with a high
energy plot that binds them together. Rating: +2 (-4 to +4) or
7/10

Spoiler warning: I do not think I gave away anything that should
bother a viewer, but this is a film that it is best to see knowing
as little as possible of what is to come.

Hiding behind a lackluster title, THE CABIN IN THE WOODS is an
audacious, intelligent, and gutsy horror film. It raises a whole
lot of questions. If it is a standard teen horror film of five
college students facing angry spirits in the woods, why are there
technicians secretly tracking the proceedings? Are the returning
dead of the forest real or man-made or both? Who is pulling the
strings for all that is happening?

I like the kind of mystery that does not ask a question like "Who
is the murderer?" but instead asks, "What the heck is going on
here?" Rarely does a film that asks that question provide such a
fantastic answer. We are given two plot lines that seem to have
absolutely nothing to do with each other. In one plot, five
college students are going for a weekend in a mysterious cabin out
in the woods. They want and expect to do some serious partying.
But there are strange things happening in the house. This sounds a
whole lot like THE EVIL DEAD. But we keep cutting away to some
sort of technical control facility that could be launching a
missile, except for the fact that they seem to be looking at
television displays of what is happening at the kids' party in the
cabin. The cabin visit seems to be secretly controlled by a
clandestine high-tech project. And that is not all. Another team
in Japan seems to be following and controlling a scene that looks
like it was borrowed from THE RING. Why? What are the
experimenters looking for? What the heck is going on here? Why
would someone want to use high-tech to put people through
situations from horror films?

In the early parts of the film THE CABIN IN THE WOODS seems like a
cross between THE EVIL DEAD and THE TRUMAN SHOW. When people start
getting killed and the technicians at Mission Control seem to be
cheering it as some sort of success, the mystery only deepens.
Most of what I tell you here might be the conclusion of some horror
film. That would be strange enough. In this film you know all this
from the very start. The real question is what is the connection.

This is co-writer and director Drew Goddard's first attempt to
direct, but he has written and was a major creative force for
"Buffy the Vampire Slayer", "Angel", "Alias", CLOVERFIELD, and
"Lost". Co-writer and producer (and second unit director) Joss
Whedon is one of the most creative talents in film and television
these days. This may be the most creative American horror film in
decades. While telling its own horror and science fiction story,
THE CABIN IN THE WOODS also looks at what makes a horror film tick
and perhaps some of the mythic similarities and the basis of what
scare us. It can function perfectly well at one level while
examining itself and other horror stories from another level. Not
just a surprise package, it is a package full of surprises. I rate
THE CABIN IN THE WOODS a +2 on the -4 to +4 scale or 7/10

Currently the American Museum of Natural History in New York City
is hosting an interesting exhibition titled "Beyond Planet Earth:
The Future of Space Exploration". The exhibit runs thru August 12,
2012. It has been on my list of things to do for a while, but I
was re-motivated to go by reading the following on-line SCIENTIFIC
AMERICAN article by Justin St. P. Walsh:
.
http://tinyurl.com/void-amnh-space.

This article is a strong attack on the exhibit, and on the idea of
space development in general. As a long-time advocate of space
development, I decided to attend ASAP. I admit that as a museum
member, I got into the exhibit for free as part of my membership,
so I'm not sure if you will feel that what you see is worth what
you pay if you walk in off the street. With that warning, I was
generally impressed by what I saw. In fact, I don't recall ever
seeing a non-NSS/L5 exhibit at a major venue that reflected space
development ideas so well.

The exhibit begins with a brief history of the space program to
date. My thirteen-year-old daughter seemed like a good match to
the exhibit--for so many kids today, space is just part of the
furniture, and this exhibit provides a bit of context. There is a
model of Sputnick, Vostok, and a big Mars rover, ending with a
large picture of the ISS, which, is turns out, started construction
in the year my daughter was born (1998).

The historical section is followed by a model of Space Ship One and
a display on space tourism, along with a movie on the solar system.
Next comes a large model of a Bigelow inflatable habitat and an
even larger model of a lunar colony built using Bigelow modules.
There are good discussions of lunar ice and mining. Something new
to me was a model of a liquid mirror lunar telescope, surely an
interesting idea. Further out was a large model of a lunar
elevator. I give the curators a lot of credit for showing how
space could, with technologies such as a lunar elevator, someday be
easily accessible. There is a very small plaque on mining lunar
helium 3.

The next section focuses on asteroids, including asteroid impacts,
a giant map of NEO orbits, asteroid deflection, and asteroid
mining, as well as the real missions to the asteroid Itokawa. This
was a great section that covered all the major asteroid-related
ideas well. Immediately following was a model/display of the
proposed deep-space exploration vehicle Nautilus (see the wiki
article for more info,
http://en.wikipedia.org/wiki/NAUTILUS-X.

We now entered the Mars section, which includes a large mock-up of
the Curiosity Rover, now on its way to Mars. My family had the
privilege of seeing Curiosity under construction at JPL when we
toured the facility. The centerpiece of the Mars section is a
large display on terraforming, including a terraforming game. This
game seems to have really offended Mr. Walsh as it transforms
polluting activities on Earth into tools to terraform Mars.

The final sections of the exhibit deal with the exploration of
Europa and the possibilities of life there, and also on exo-planets
found by the Kepler observatory. Overall, this is a wonderful
exhibition, with a good balance between history, space development,
and exploration. Unlike most museum exhibits that focus either on
the past or on far-out future things like space colonies, we see a
series of reasonable steps leading to an extensive future in space.
I applaud the American Museum of Natural History for putting on
this exhibition, and thank Lockheed Martin, Con Edison, and Lila
Wallace for funding it.

Mr. Walsh's long article attacking the "Beyond Planet Earth"
exhibit (henceforth I'll call it BPE) is typical of the deep green
environmentalist viewpoint. It starts from the idea that the
natural world is good, even if, like the moon, it is uninhabited
and lifeless, and must remain pristine and that humans are bad, and
so must be restricted to the Earth and forced to clean up their
mess. From this starting point, BPE is obscene. The very thought
of acquiring unlimited (or practically so) resources in space is
highly upsetting to deep greeners like Walsh.

Walsh focuses his fire on two fronts--helium 3 mining and
terraforming Mars. His attack on helium 3 mining is a bit of a
fish in the barrel exercise. This is very small part of a large
exhibition, and something that most space advocates would agree is
either a long shot or very long term. The real source of helium 3
in the solar system is the gas giants, not the moon, so it is hard
to imagine the moon being developed mainly for this reason. Walsh
is right to point out that demonstrating clean helium 3 to helium 3
fusion is very hard, and will probably come only after DT fusion
has been mastered and is in widespread usage. My suggestion to
space advocates is to focus instead on mining lunar oxygen/hydrogen
and using it as rocket fuel, or even generating solar power on the
moon and beaming it back to Earth.

Walsh then takes to task the idea of terraforming Mars, another
very long term project, as being just another example of a large
scale human intervention likely to go wrong. Walsh has done space
advocates a service by writing an essay that encapsulates the deep
green case against space development, a case the deserves extensive
refutation by space advocates, hopefully in many books and
articles. Walsh's article serves as a reminder that some of the
most difficult obstacles we must overcome to develop space lie not
in space, but here on Earth.

In any case, I strongly recommend "Beyond Planet Earth" to everyone
of all ages, and I wouldn't begrudge the price they charge if it
encourages the museum to create more exhibits of this sort. Ad
Astra. [-dls]

CAPSULE: FROM THE OTHER SIDE does not follow the style of most
documentaries. Rather than giving the viewer a collection of
facts, it is more a compilation of the statements of people
involved with the issue of illegal immigrants coming from Mexico to
the United States. The statements are punctuated with long, drawn-
out several-minute-long takes of subjects like a street in a border
town, hikes across the desert while being tracked by helicopters,
sequences of waiting in line at border crossings, etc. It is clear
the director Chantal Akerman feels a strong sympathy for the
immigrants and feels for their plight, but in making her film she
made stylistic decisions that may get in the way of making her
statement effectively. Rating: low +1 (-4 to +4) or 5/10

In FROM THE OTHER SIDE, Belgian documentarian Chantal Akerman gives
us a minimalist view of the issue of Mexican would-be immigrants
crossing the border from Mexico to Arizona. Akerman shows us the
plight of illegal Mexican immigrants by simply letting them speak
for themselves about why they or their family members risk death to
cross over the border. Akerman does this without narration or text
explanations or commentary. There are no screens with facts and
statistics; there is no narrator talking over the visuals. Akerman
chooses what the viewer will see, of course, but shows it without
additional comment. She gives us the arguments from both sides,
the Mexicans who cross over and some Arizonans who are opposed to
the immigration, but it seems clear that Akerman's sympathy is for
the immigrants. Recurring images in these scenes are the road and
walls and fences. These are the staples of the immigrant's life
and would-be immigrant's life.

Akerman goes back and forth between interviews, subtitled where
necessary, and long languid outdoor landscape takes--most several
minutes in length--giving us a feel for the environment and
conditions in Mexico and across the border in Arizona. Akerman
stresses the slow pace of life and the lay of the land. She will
show a street in a Mexican border town with an occasional pickup
truck driving down the street, and just lock down the camera
letting the scene run for several minutes. This approach is an
interesting stylistic decision. It conveys what may be an
emotional truth of the experience of life in a Mexican town, but
one has to ask whether showing these scenes to the viewer at such
length is really the best use of the time the viewer has invested
in the film. And is the viewer's reaction to such a portrait of
the town even the same reaction that a local would feel looking at
the same road?

By giving us these long takes with very little changing Akerman is
going for an emotional impact rather than using the more common
fact- and text-based approach. This lets the viewer come away with
a feeling for the issues and perhaps with some sympathy, but not
knowing enough of the scope and depth of the problem. The focus
moves as a progression. Akerman first looks at families of
immigrants passing over and the topography of their home territory.
Then at some of the people themselves, self-admitted illegal
immigrants reading a statement apparently written to be read in the
film where they tell why they have come and the pain and suffering
they have to endure. The scene shifts to the Mexican Consul to
present the Mexican government's point of view. Finally there is
an interview of a couple with fears of invasions from the other
side of the border.

It would be more effective to have a good an compelling documentary
depicting the plight of both the immigrants from Mexico and the
Americans who oppose them. This film goes for more of a stylistic
effect leaving the political impact secondary. A more effective
approach would have made this much more the film that was needed.
I rate it a low +1 on the -4 to +4 scale or 5/10.

[Evelyn had noted, "Yes, I've been to England--Scotland, Wales, and
Northern Ireland were 'countries' I said I could add to the list,
which already included the United Kingdom. If I listed England,
then I would have to remember to deduct one from the list first."
-ecl]

Correctimundo.

One either counts the United Kingdom as a country and discounts the
claims of England, Scotland, Wales and Northern Ireland, or one
counts England, Scotland, Wales and Northern Ireland as countries
and considers that the United Kingdom is a state with a government
which consists of three countries and a part of another country.
Don't shilly-shally around. [-tb]

THE ERASERS by Alain Robbe-Grillet (ISBN 978-0-8021-5086-8) was a
book I had been seeking for a while. It was on the syllabus for
"The International Legacy of Jorge Luis Borges", a course I
"took" in 2010 in the sense of reading all the works on the
syllabus and writing about them (see
http://leepers.us/evelyn/reviews/jlb_legacy.htm). But there
were a few works that I was unable to find easily, and since there
was no time limit, I figured I would just wait until I could find
them used rather than spend a lot of money ordering them on-line,
and so gradually I have filled in the gaps. And finally THE
ERASERS showed up. One reason it is hard to find is that it is
Robbe-Grillet's first novel and not considered among his best
works. (I would not know--I have not read anything else by him.)

But it definitely has Borgesian elements. The main character,
Wallas, is trying to find his way to the police station, but the
streets of the town seem to be like a labyrinth, or more precisely,
but less Borgesian, a maze. (In Spanish, "laberinto" covers both
terms, which is not surprising, given that while "labyrinth" is
from Greek through Latin, "maze" is from Middle English and would
not appear in Spanish.)

For example, on page 43, "the other riders informed him, with some
difficulty, of the stop nearest this Rue des Arpenteurs, of whose
existence most of them seemed quite unaware; someone even said that
it was not in this direction at all." On page 49, he leaves the
Boulevard Circulaire, but when he crosses the street to turn right
in a new direction, "he reads with even more surprise the words
'Boulevard Circulaire' on the building at the corner. He turns
back, disconcerted. He cannot have been walking in a circle, since
he had gone straight ahead ever since the Rue des Arpenteurs..."
(Of course, in some towns this would not be at all surprising. In
Greenwich Village in Manhattan, West 4th Street crosses West 12th
Street!)

And on page 80, it is even more explicit: "Wallas has returned to
the square and walked around the prefecture on the right side,
intending to come out onto the Boulevard Circulaire near the Rue
des Arpenteurs; but he has lost his way in a labyrinth of tiny
streets where the sudden turns and detours have forced him to walk
much longer than was necessary."

On page 208, Robbe-Grillet adds a digression with a long
description of items reflected in a mirror (one of Borges's
standard tropes)--and one of the items is a statuette of a blind
man.

There is a scene where Wallas is supposed to meet someone at the
train station "between the telephone booths and the snack bar." He
arrives and sees "the chromium-plated stand ... where a man in a
white apron was selling sandwiches and soda pop." He waits here,
but just as he is going to give up, the other person appears. "He
had been waiting at the other end of the hall, where the real snack
bar and a whole row of telephone booths [were]." Somehow the
telephone booths and snack bar where Wallas had been waiting seemed
to me like the "hronir" (copies) in "Tlön, Uqbar, Orbis Tertius"--
copies get less and less accurate.

There are also the ambiguities of the premise: Daniel Dupont has
been murdered--or was it suicide? But he is dead--or is he? Is
the series of murders a terrorist plot or not? This was Robbe-
Grillet's first novel, and as his career went on, his novels became
more and more enigmatic and cryptic.

DEBT-FREE U by Zac Bissonnette (ISBN 978-1-59184-298-9) is an
explanation of how you (or your child) can go to college without
ending up with massive loan debt or bankrupting your family. Many
of his suggestions seem reasonable, but I cannot say I agree with
all of them. (Disclaimer: I went to college from 1968 to 1972,
when in-state tuition at the University of Massachusetts was $100 a
semester, and the most expensive textbook was a forestry text for
$23. Coincidentally, Bissonnette is also going to the University
of Massachusetts.)

For example, Bissonnette talks about how to improve your chances
for merit scholarships and grants, which are outright gifts, not
loans. He explains the formulas used for various financial aid
applications--for example, why using your liquid assets to pay down
your mortgage might make more sense than holding onto the cash. He
feels that campus tours are (*at best*) a waste of time and money.
And so on. His basic message is that you should go to a school you
can afford (which may mean working part- or even full-time) rather
than take out a lot of loans that will take the rest of your life
to pay off.

His major contention is that going to college is more important
than going to any particular college, and he spends a lot of time
doing marginal cost and marginal return calculations on public
state colleges versus Ivy League colleges.

But Bissonnette makes a few claims that I do not think are true, or
certainly not universally true. For example, he claims that there
is no reason for students not to take their core requirements
(English, history, French, etc.) at a community college and then go
to a four-year (state) college for the courses in their major. But
another book I read recently, IN THE BASEMENT OF THE IVORY TOWER:
CONFESSIONS OF AN ACCIDENTAL ACADEMIC by Professor X, the author
describes his experiences as a teacher at a community college.
Bissonnette claims that while at four-year colleges, students are
likely to find themselves taught by graduate students, at community
colleges they will be taught by real professors. "Professor X"
(that's a pseudonym, not a real title) says that most of the
courses are taught by "adjuncts", or low-paid part-timers.
Bissonnette claims that the quality of learning at a community
college is equal to that at a four-year college. Professor X
describes composition classes where students are barely literate,
cannot write a real sentence, and are totally unprepared for any
sort of college-level work. I defy Bissonnette to get a college-
level education in a class like that.

He also seems to think that a full-time college student can work
full-time (or close to it) as well. For example, he claims that
the average college student spends 24 hours per week watching
television, 10.2 hours drinking, and 4.1 hours on video games. He
then says that these hours could be spent on a job. Well, yes, but
he does not take into account that this results in no "de-
compression" time--the student ends up running on high all day.
(He also does not figure out how much time will be required to get
to and from a job.) I do not disagree with the notion of working
to earn money for college, but I think suggesting that students can
carry a full course load (actually he recommends an *over-full*
load so you can graduate faster) *and* a full-time job is a way to
end up with more students dropping out.

And although Bissonnette keeps talking about how great an education
one can get at a public university, when he describes astronaut
Sally Ride as "the first woman in space", he does not help his
credibility. [-ecl]

Mark Leeper
mleeper@optonline.net
Quote of the Week:
Sir, I admit your general rule,
That every poet is a fool:
But you yourself may serve to show it,
That every fool is not a poet.
--Matthew Prior